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f ^ 3 State Normal School 

FITCHBURG, MASSACHUSETTS 
HISTORY DEPARTMENT 



THE PAGEANT 
AN AID IN HISTORY WORK 




PRACTICAL ARTS HALL, FKOM THE STAUI 



HISTORICAL PAGEANTS 
STATE NORMAL SCHOOL 

FITCHBURG, MASSACHUSETTS 
FLORENCE M. MILLER 




FITCHBURG, MASSACHUSETTS 
x 1911 






Copyright 1911 

by 
J. D. Miller Co. 



Enterprise Press, Leominster. Massachusetts 



I 



©CU286701 



THE PAGEANT 

AN AID IN HISTORY WORK 



AN EXPLANATION 

The entertainments described in this pamphlet were 
suggested by the needs and are a part of the regular 
work in history at the State Normal School at Fitchburg, 
Massachusetts. They represent an attempt on the part 
of this school to make history more real for the pupils, 
and are printed in the hope that other schools may be 
interested in this kind of work. The entertainments 
seem best described by the word "pageant." But there 
is no desire to use an ambitious name, or to make any 
special claim to originality. We feel sure, however, that 
the educational value of historical pageants, in this 
simple form, and the ease with which they can be made 
a part of the regular school work is not, as yet, fully 
realized. For this reason, to an outline of what has been 
done in this direction at the Fitchburg School, there is 
added a brief estimate of the value of such pageants in 
the teaching of history. 

A few words as to the origin of this method of pre- 
senting history at the Fitchburg Normal School. When 
the Lincoln Centenary was in the minds of all, the first 
draft of the Anti-Slavery Pageant was prepared. With 
such aids as could be extemporized in Normal Hall, it 
was given Feb. 12, 1909, to mark that event for the 



PAGE SIX 

school. This year, when the fiftieth anniversary of Lin- 
coln's inauguration as President of the United States 
demanded recognition, this entertainment was revised 
and enlarged. In the new Practical Arts Building, the 
school now has an admirable hall for entertainments of 
this nature, and the pageant as printed was given there, 
March, 1911. 

A plan for a Peace Pageant was first outlined and to 
some extent developed, in connection with the work of 
a student in the advanced class of 1910, who was special- 
izing in history, and who made the plan a part of an 
essay which won the first prize offered by the Peace 
Society. The pageant herein described, and which was 
given at the school, is along similar lines, but amplified 
and changed in treatment. 

AVhen the legislature made a legal Columbus holiday, 
it was, of course, the duty of this school to see that it 
was properly observed. The Columbus Day Pageant, as 
herein printed, is an attempt to fulfill this duty. 

Christmas customs in Old England have so much of 
special interest and historical value, and lend themselves 
so readily to this kind of treatment, that they make a 
special claim for attention. 

It should be kept in mind that illustrations of this 
general nature are possible in connection with school 
work only when the arrangements of scene and dress are 
kept very simple. If they suggest the style or the idea, 
the rest may be left to the imagination. It is clear that 
to make one elaborate or the other exact, would make 



PAGE SEVEN 



the whole thing impossible. We may accomplish much if 
wise enough not to attempt too much. 

The various teachers of the Practical Arts in the 
Fitchburg Normal School offered valuable suggestions in 
carrying out these entertainments, and assisted the 
Normal School pupils and the children in making many 
of the articles needed. Everything possible was made 
in connection with the work of the school. The Normal 
School pupils made their own costumes, as far as pos- 
sible, and also assisted in carrying out all the arrange- 
ments. The ingenuity and originality thus developed 
on the part of the pupils in the Normal School, are 
valuable results from this kind of work. 

The music for these entertainments was under the 
direction of the teacher of music at the Normal School. 



THE PAGEANT 

AN AID IN HISTORY WORK 



AN ESTIMATE 

One's success in conveying ideas and emotions to 
(•tlicrs depends very largely upon the forms of expression 
he uses. No one needs to be reminded how much the 
eye aids the ear in this matter, or how greatly this aid 
is needed, especially when we present new and difficult 
ideas to children, and seek by these ideas to train the 
imagination. It is clear, therefore, if we can use the 
eye, as in posture, gesture and facial expression, in mak- 
ing any subject real to children, great good will follow. 
Certain things favor the trial. This form of expression 
is natural to children. This is evident both from the 
fact that it was the language of primitive man, and is 
the language of children before they can talk. It is, 
also, a universal language. We must make use of this 
form of expression if we travel in countries where we 
do not know the spoken language, and are without an 
interpreter. Then we all know how difficult it is, by 
the written and spoken word only, to convey new ideas 
even to adults. This difficulty is much greater when we 
are dealing with children. For this reason we constantly 
use this sign language to help make the spoken word 
more vivid. Young people not only easily grasp an idea 
which is pictured or acted for them, but will, with very 



PAGE TEN 



little help from a teacher, act out the whole thing for 
themselves, and in this way present the ideas or facts 
to others. From this it is easy to get several children 
to unite in presenting, in the form of tableau or rep- 
resentation, any ideas, events or scenes which the teacher 
Avishes to impress upon the imagination. 

Tableaux, or representations of this character, may 
be used to great advantage, and should be used in the 
teaching of history. This is true both on account of the 
difficulty of the subject, the many new ideas which it 
presents to the mind of the child, and not less because 
of the large demand which history makes upon the 
imagination, if it is to be fully appreciated. It is the 
sympathetic attitude, the constructive imagination, which 
is especially needed in this subject. To make any his- 
torical scene of real and vital interest, we must re-con- 
struct the events for ourselves : we must so imagine the 
thoughts and the feelings of the actors that they become 
real men and women to us, and their desires and striv- 
ings must become in a very real sense our own. How 
can the imagination be more effectively aroused, or this 
sympathetic feeling better developed, than by asking the 
pupil to assume for a few moments the character of the 
person about whom he is studying, or to unite with 
others to make clear and living some interesting and 
important scene. 

The elaborate pageants which have been acted both 
in this country and in England, as well as others which 
are in preparation, show the great interest in this method 
of teaching. But because of certain seeming difficulties. 



PAGE ELEVEN 



it has not been much used in regular school work. It is 
to be noted that so far as the method applies to the 
teaching of history, the difficulties are mostly on the 
part of the teacher. If the pupil is led to think of a 
form of expression by means of action or tableau as just 
as natural and common in the school life as that of talk- 
ing or writing, he will find it easy and intensely inter- 
esting. 

On the part of the teacher there must be, first, as in 
any effective teaching of history, an appreciation of a 
dramatic situation, and of the things appropriate and 
necessary for its reproduction. It is the teacher who is 
to select the events or series of events to be used in 
this way and the special scenes in these events which are 
most telling. These points should be simple, suited to 
the comprehension of the children, but representative 
and dramatic. 

There is next the difficulty arising from the lack of 
a stage and costumes. In regard to these, it is worth 
while to notice that simple tableaux for school work can 
be given in any school room and without the help of 
costumes, or with very simple changes in dress, or 
arrangements of dress. Then, at the present time, a 
teacher of history or any teacher who has to deal with 
this subject, should try to collect material which may be 
used for the purpose we are considering. Simple cos- 
tumes which may be used to illustrate the dress of the 
people in different periods of history, and articles which 
may be needed in tableaux of historical scenes, are 
among the most important of such historical material. 



PAGE TWELVE 



If the children have, as part of the school work, sewing 
or manual training, they can make many of these things 
for themselves. Articles which are most effective for 
use in these representations are often very simple and 
even common. 

More valuable than single representations are a series 
of connected tableaux or scenes, arranged by the teacher, 
but presented by the pupils. Such a series may be pre- 
sented in the form of a historical entertainment for the 
parents and friends of the pupils. The value of an 
entertainment of this kind is, that in this way one may 
picture for the eye the growth of certain ideas or ten- 
dencies from which great and important changes 
have come. To make the idea of development clear in 
the mind of the pupil is the great end and aim of all 
history teaching, and in this work the eye is the teach- 
er's most faithful and efficient servant. Those who take 
part in the entertainment, however, gain the most from 
it. They gain both in the power of expression and in 
the power of imagination. But the gain in self-control 
is even more valuable. The pupils must imagine them- 
selves men and women and act with becoming dignity. 
They must, also, feel the responsibility of the situation 
and so learn to conduct themselves in a quiet, orderly 
and efficient manner. It appears, therefore, that work 
of this kind helps directly to develop character. 

In general, it may be said that only events of his- 
torical importance and characters worthy of imitation 
should be introduced, 



COLUMBUS DAY OBSERVANCE 

Illustrating Important Events in the Life of Columbus 



This entertainment is simply an attempt to give a few of 
the most dramatic incidents in the life of Columbus as con- 
nected with his discovery of the New World. Fewer scenes 
were needed at the time from the fact that an address upon 
the life of Columbus was to be given at the close. Other 
scenes could be readily added, although it would require some 
care to avoid an anti-climax. 

FIRST SCENE 

In Spain at the Council of Salamanca 

Before this scene is presented, there should be given 
a brief explanation and description of the early life of 
Columbus and of his attempts to obtain aid. 

Characters: Churchmen and counsellors at the court of Spain 
(seven to ten) and Columbus. 

Costumes: The churchmen are dressed in long black garments 
except two, who have black capes with white underneath; 
some of the churchmen may wear or carry crucifixes. 
Columbus wears a long black garment or coat, which 
plainly shows the poverty of its owner. 

Tableau: Columbus before the council at Salamanca. 

The characters are arranged somewhat as in a picture 
of this scene found in the Perry pictures. A picture 
of the scene is found, also, in Lossing's History of the 
United States, Vol. 1. Only the chief characters which 
appear in these pictures are shown in the tableau. Three 



page fourteen 



churchmen or counsellors are in the centre of the tableau 
near Columbus; two at the left, one pointing mockingly, or 
making fun of Columbus; two stand haughtily in the back, 
and there may be, also, two or three at the right. Colum- 
bus has a partly open roll of parchment in one hand, and 
is pointing with the other, as shown in the picture. One of 
the churchmen in the centre has an open Bible in his hand 
and another has a book which he is holding out to Colum- 
bus. It is not necessary to reproduce other characters 
from the picture. 



SECOND SCENE 
On Shipboard 



Characters: 



Columbus. 
The mate. 
Other sailors. 

Nearing land: Columbus and the Mate. 

Costumes: Columbus has on a red cape; the sailors wear 
sweaters and sailor caps. 

The conversation in the poem entitled "Columbus," by 
Joaquin Miller, takes place between Columbus and his 
mate. The sailors are in the background, one of them 
holding a lantern. Between the different parts of his con- 
versation with Columbus, the mate goes to consult with 
the sailors. The last stanza of the poem is given by some 
one from the wings. When the reader reaches the line, 
"A light! A light!" Columbus and the mate change their 
position, Columbus points and the mate raises his arm, 
peering forward. (Picture in Leading Facts of American 
History by Montgomery, revised edition. Also in Stepping 
Stones of American History.) 



PAGE FIFTEEN 




FIRST SIGHT OF LAND 
THIRD SCENE 

In the New World 

Characters: 

Columbus. 
Three noblemen. 
Eight sailors. 
Six Indians. 

Costumes: Columbus and the noblemen wear the Spanish cos- 
tume of the 15th century, which will be described later. 
The sailors wear sweaters and sailor caps, which may be 



PAGE SIXTEEN 



made from blue, red or gray cambric. The Indians wear 
the Indian suits, which many boys have, or which may 
be obtained at any clothing store. They carry bows and 
arrows or tomahawks. 

Spears, swords, and cross: The spears and swords for this and 
the following scene are made from wood and bronzed, sil- 
ver. The tall cross is made from wood and stained with 
shellac. 

Banner of the expedition: This banner is white, with a green 
cross. Over the initials F and Y (Ferdinand and Ysa- 
bella) are two gilt crowns. 

Tableau: The landing of Columbus. 

The characters are posed from Vanderlyn's painting 
of the scene in the capitol at Washington. Reproductions 
of this painting may be found in many histories and among 
the Perry pictures. Columbus holds the banner of the 
expedition in one hand, and a drawn sword in the other. 
One of the men has a tall staff with the top in the form 
of a cross; two others hold tall spears. The Indians are 
peering out at the white men from the sides of the stage; 
one of them is down upon the stage with his head bowed 
on his hands, worshipping the strangers, the others seem 
to be full of fear and curiosity. 



FOURTH SCENE 
At Barcelona in Spain 

Before this scene is presented, a description of the reception 
of Columbus by the king and queen upon his return to 
Spain is given. This scene is more elaborate than any 
other in the entertainment. 

Characters: 

King and Queen of Spain (Ferdinand and Isabella.) 
Two guards. 



PAGE EIGHTEEN 



Two ladies of the court. 

Eight monks or churchmen. 

Six Indians. 

Eight sailors. 

Page for Columbus. 

Ten noblemen. 

Columbus. 

Costumes: The queen has a red robe, with a purple figured 
front; collar and trimmings of ermine. She wears a crown. 
The ermine is made of cotton with little pieces of black 
cloth sewed upon it; the crown is made of cardboard cov- 
ered with gilt paper. The dress is cheese cloth, with a 
front of silkoline. 

The king wears purple full short trousers (trunks). 
They are made somewhat like bloomers; he also wears a 
figured purple doublet, a purple cape and a gilt crown. 
The trousers and cape are trimmed with ermine. 

The guards have black trousers (trunks) and red capes, 
collars and knee pieces made from silver paper; they 
wear storm hats covered with the silver paper, and carry 
spears. 

The ladies-in-waiting wear dresses, fixed to resemble 
the dress of the period. They have high headpieces, shaped 
like cornucopias, made from cardboard, covered with gilt 
paper and with long veils draped over them; this was one 
style of headpiece worn in the 15th century. 

The churchmen, sailors and Indians are dressed the 
same as in previous scenes. The little crosses which the 
churchmen or monks carry, may be made from cardboard 
covered with the silver paper. 

The .little page of Columbus is dressed in his own 
white suit. 

Columbus wears gray and red clothing. The noble- 
men wear combinations of bright colors. 



PAGE NINETEEN 



The general plan which was followed in regard to the 
dress of the Spanish nobility in the time of Columbus was 
to have the full short trousers (trunks) made of one color 
and slashed with another; the upper garment or doublet 
made of figured silkoline; the cape of one color lined 
with another, worn turned back over one shoulder; pointed 
collars and cuffs of white glazed or silver paper; and soft 
felt hats with plumes. Each nobleman carried a sword. 

The gold brought by the sailors may be made by gild- 
ing stones. 
Reception of Columbus by the King and Queen. 

Rugs cover the front and sides of the stage; in the center of 
the stage is a raised platform or throne, with two or three 
steps leading up to it; this throne is covered with figured 
raw silk (yellow and brown). Chairs are placed on the 
throne for the king and queen. 

The scene is an attempt to represent the Reception of 
Columbus on His Return to Spain after his first voyage. 
(See painting by Ricardo Balaca, the Spanish artist, of 
Columbus before Ferdinand and Isabella at Barcelona). A 
march is played upon the piano while the different char- 
acters in the tableau come on the stage and take their 
proper positions. First the two royal guards march to the 
throne, taking positions one on each side, so that the king 
and queen may pass between them in mounting the plat- 
form. They are followed by the king and queen, and then 
by the ladies-in-waiting. The king and queen mount the 
platform and take seats; the ladies wait in front of the 
platform until the king and queen are seated, then they 
take positions one on each side of the throne. The guards, 
after the king and queen are seated, take position on the 
platform in the rear. All these come as one group in the 
procession, with only a little space between them. 

Next come the churchmen, with heads bowed and 
looking at silver crosses which they hold in front of them. 
One of them carries the tall cross. They take their places 
at the right of the queen. 



PAGE TWENTY 



The Indians come, shuffling across the stage to the 
extreme left of the king and queen. Of course they know 
nothing of keeping time to music or paying homage to 
royalty. 

The sailors march upon the stage, each bringing some- 
thing from the new world, gold, a stuffed bird, or some 
product. Each in turn approaches the king and queen, 
kneels, then places whatever he carries at the side of the 
platform, and takes his place on the left. 

The noblemen, one by one, come with great dignity 
to the front of the throne, kneel, and salute with their 
swords. Then they go to the right of the stage. 

Finally, the music sounds a more triumphal note, 
announcing the approach of the hero of the occasion. 
Columbus is preceded by his page, carrying the banner of 
the expedition. The page kneels to the king and queen, 
then goes to the left, where he is to stand just back of 
the place reserved for Columbus. 

As Columbus approaches the throne, the king and 
queen rise and come forward to do him honor. Columbus 
kneels, kisses the queen's hand, then rises and points out 
to the king and queen the treasures which his sailors have 
brought. He also brings forward one of the Indians. 
The king and queen regard everything with interest. After 
this, at a signal given on the piano, all kneel to give thanks 
for the discovery of the new world. The Te Deum Lauda- 
mus is chanted or the doxology is sung. This is the end 
of the reception. 

This scene may be simplified, if desired, and given in 
the form of two tableaux. Columbus kneeling before the 
queen; and Columbus telling his story may be given sep- 
arately. There need not be as many characters in the 
scene. See the picture "Reception of Columbus," (Adapt- 
ed from the picture by Ricardo Balaca) in America's 
Story for America's Children, by Mara L. Pratt. 



PAGE TWENTY-TWO 



It would be easy to give the substance of this enter- 
tainment in any school room and without costumes. Even 
with these limitations the story of Columbus would become 
more real to the children, in this way, than it could be 
made by any description. 

A good description of the reception of Columbus in 
Spain after his first voyage is given in The Life of Colum- 
bus, by Washington Irving. 

A description and picture of the banner of the expedi- 
tion may be found in Lossing's History of the United 
States, Vol. 1. 
Music that may be used: 

Columbus song, taken from "1492." 
The "New Hail Columbia." 



HISTORICAL PAGEANT 

Yuletide in Merrie England in the Sixteenth Century 

Perhaps some reference to the Christmas customs in 
Old England should be given as an introduction. What is 
printed here can be used as a suggestion. What is needed 
will, of course, vary with the fullness of the description 
in the program. 

There is a peculiar charm in these old customs, espe- 
cially when, as in this case, they relate to a festival which 
still lives. One reason, no doubt, is that we have in these 
earlier times more of the unconscious spirit of childhood. 
Our delight in studying the Christmas customs of Old 
England is further increased because of our close connec- 
tion with that country, and because many of these same 
customs prevailed at the South before the Civil War. 
There is in these customs, also, a strong hint of that lack 
of hurry which is so marked a trait of the English tem- 
perament. There was evidently no will to absorb the de- 
lights of Christmas in an hour as there is with us. In the 
reign of Queen Elizabeth we find that Christmas was 
celebrated with much greater splendor and magnificence 
than at present. The festivities began at Advent and 
lasted till Twelfth Night or even longer. There was leisure 
to make the most of the joy. Thinking of these old times 
we say to you: 

"Once more the rapid fleeting year 

Has brought old Christmas to the door; 
Come, let us treat him with such cheer, 
As folks were wont in days of yore." 



PAGE TWENTY-FOUR 



There was in these old Christmas customs a pervading 
spirit of song and good will; a becoming deference for 
place and power; a hint of the bowl and of the feast. 
The manor houses of the sixteenth century were rude, as 
measured by our standards, but magnificent for the time. 
The spirit, however, was the chief thing. 

On Christmas eve, in England in the olden time, 
you would see a great log burning in the fireplace. 
You might have gone out into the w r oods and helped to 
bring in this log, which was called the Yule log. The log 
must burn all night, for if it went out it was considered a 
sign of ill luck. A brand from the Yule log must be 
carefully saved and put away to light the next year's 
Christmas fire. Sometimes there were lighted candles in 
the hall, but often the only light came from the great fire 
in the fireplace, as the Christmas songs were sung and the 
Christmas stories told. 

In the early morning the Christmas Waits, as they 
were called, started out to sing from door to door Christ- 
mas hymns, carols of the holly and the mistletoe, and 
receive pence in return. The bringing in of the Wassail 
bowl and presenting it to the lord and lady of the manor, 
and the participation of all, even to the queen herself, 
gives a hint not only of the reverence felt for power and 
station, but as well of the universal character of the cele- 
bration. In the bringing in of the "boar's head" we have 
a vivid picture of the rude abundance of the time; while in 
the procession of the Lord of Misrule there is the love 
of imitation and all the abandon of childhood. If a fuller 
description is desired, it can be found in Irving's Sketch 
Book. 

The Scene: A Hall in an Old English Manor House 

A very large fireplace is seen at the back of the hall. 
The English coat of arms, cut from gilt paper and placed 
upon a background of white cloth, is over the fireplace. 




QUEEN ELIZABETH'S HERALD 



PAGE TWENTY-SIX 



A raised platform or dais, a few fur rugs and one or two 
chairs form the chief articles of furniture in the hall. In 
addition there should be lighted candles in old brass can- 
dlesticks on the top of the fireplace, and, also, old plates 
and dishes. Holly and other green may be used for dec- 
oration. Other appropriate articles for this scene are 
swords, spears and helmets; also rugs on the walls to rep- 
resent tapestry. 

There should not be too much green used for decora- 
tion, or too much furniture in the room, because an old 
English manor house was large and barely furnished com- 
pared with houses to-day; also because a large part of the 
stage is needed for the entertainment. 

Characters 

A messenger from Queen Elizabeth. 

Queen Elizabeth and Sir Walter Raleigh. 

The Lord and Lady of the manor house. 

Nine girls representing English girls of the period of 
Queen Elizabeth. 

Fifteen Christmas Waits. 

Four yeomen to bring in the Yule log. 

Two candle boys. 

A steward and three serving men. 

Page for Queen Elizabeth. 

Lord of Misrule. 

Page for the Lord of Misrule. 

Twenty followers in the procession of the Lord of 
Misrule. The following characters may be represented: 
Bear, girl or boy beating a drum, pig, astrologer, court 
fool, fairies, giant, horse, half animal and half man, 
Egyptian girl rescued from the dragon by St. George, 
dragon, St. George, clown, Robin Hood and one of his 
followers, abbot, goblin, rooster, and rabbit. 



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PAGE TWENTY-EIGHT 

Costumes 

The general style for the costumes is, of course, that 
of the period of Queen Elizabeth. 

Queen Elizabeth, Sir Walter Raleigh, the Lord and 
Lady of the Manor House, and the candle boys, wear 
court suits. 

The yeomen and the serving men wear the dress of 
the lower classes in the 16th century. 

The nine girls representing English girls wear dresses 
made of Christmas crepe paper, in the style of the 
period represented. 

The horns used in one scene are made of cardboard, 
covered with silver paper. The poinsettias and silver 
headpieces are easily made of red and green paper, and 
of cardboard covered with silver paper. 

The Lord of Misrule wears the costume described in 
an article by E. S. Brooks. The followers are, of course, 
made up to represent the characters which they assume; 
some of them are supposed to be burlesque representa- 
tions, as they were in the olden times in England, while 
others, as the dragon, knight, court fool, etc., are dressed 
to represent the real characters as nearly as possible. 

Program, or Scenes Represented 

1. A messenger, dressed in Old English costume, appears, an- 
nouncing the coming of Queen Elizabeth and her attendants. 
The costume is purple, arranged like that of a herald 
of the Middle Ages. See "Military and Religious Life of 
the Middle Ages," by Lacroix. 

This form of announcement may be used: 

I, Lord , (any name desired may be used here) 

royal messenger, announce to you, , (the name of 

the principal or some one connected with the school may 



PAGE TWENTY-NINE 



be given here), Feodary of the Wards in , (the name 

of the school or part of it may be given here): That her 
most gracious majesty, Elizabeth, by the grace of God 
Queen of England and Ireland, being on a royal progress 

from London to the castle of Lord , in , (local 

names may be used here, though they should be changed 
to resemble English names as much as possible), proposes 

to spend a part of Christmas day at your (name 

of the school) Manor. 

By order of the Royal (some English officer.) 
December 15, in the year of our Lord, 1565. 

GOD SAVE THE QUEEN. 
Music: Carol, "We Three Kings," Chorus Old English 

2. The holly and the mistletoe. 

An exercise and recitation by nine girls, dressed in 
English costumes, to illustrate a poem by Barry Cornwall, 
entitled "The Holly and Mistletoe." 

The girls carry a laurel chain and have branches of 
holly and mistletoe. They dance upon the stage and kneel 
in a half circle by the fireplace, where one gives most of 
the first stanza of the poem, the last part being given by 
all together; then they rise, throw down by the fireplace 
their laurel chain, come to the front of the stage, and the 
second stanza is given in the same way as the first. The 
holly is displayed prominently when the last of the stanza 
is given. For the third stanza the girls pair off, except 
the one who stands in the centre, and she gives the main 
part of the poem. At the end they hold the branches of 
mistletoe above their heads. 

3. Bringing in the Yule Log. 

This is a tableau. It represents four boys, dressed in 
old-time English costumes (red and green) ; a great log with 



PAGE THIRTY 



ropes attached to it, and the boys in the position of drag- 
ging the log in to the fire; back of the boys stand nine 
English girls, blowing long silver horns. During the tab- 
leau a chorus renders the Old English Carol for the 
Yule Log: 

"Come bring with a noise, 

My merry, merry boys, 

The Christmas log to the firing," etc. 

Music: "Cherry Tree Carol," Old English 

4. Christmas Waits. 

Fifteen girls, wearing over their white dresses long 
green or white surplices of crepe paper, their hair loose, 
and with red poinsettias or silver bands and stars upon 
their heads, march into the hall and upon the stage, sing- 
ing as they come and after they reach the stage, "God 
Rest Ye, Merrie Gentlemen" and "The Holly and Ivy." 

5. The Wassail Bowl. 

The lord and lady of the manor house are seated on 
a dais. The nine English girls come skipping into the 
hall, bearing a large, old-fashioned Wassail Bowl and sing- 
ing an old English Wassail Song. The first stanza of the 
song may be given just before the girls come upon the 
stage; the next as they come skipping up to the dais, and 
standing by the dais they sing one or two stanzas more. 
When the girls stop singing, the lord of the manor takes 
the Wassail Bowl, wishes all a "Merrie Christmas," and 
drinks from it, according to the old English custom; then 
the lady of the manor does the same. After this the song 
is completed>. 

6. Arrival of Queen Elizabeth and Sir Walter Raleigh at the 

manor house. 

Some one from the wings blows three blasts upon a 



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PAGE THIRTY-TWO 



horn and announces "The queen is approaching the 
manor house." 

Sir Walter Raleigh crosses the stage, stands by the 
dais, and the queen follows, a page bearing her train. The 
queen seats herself upon the dais, the page standing beside 
her, and Sir Walter Raleigh is seated just below. They 
remain to witness the concluding part of the Christmas 
celebration. 

"G-od Save the Queen" is sung from the wings as the 
queen enters. 

Music: "Good King Wenceslaus," Old English 

7. Bringing in the Boar's Head. 

This is a tableau. There are four boys, dressed in old 
style red and green suits, seen bringing in the chief articles 
of the Christmas feast. The first boy, lepresenting the 
English steward, bears the boar's head, decorated with 
holly; the other boys carry a plum pudding, mince pie and 
cake (all very large). Two boys in front bear the Christ- 
mas candles, decorated with holly. There should be a 
table, decorated with candles, holly, etc., placed in front 
of the dais for this scene. 

During this tableau, one of the oldest existing English 
carols, "The Boar's Head Carol," is sung by a chorus: 
"The boar's head in hand bring I," etc. 

Music: Carol, "The First Nowell," Old English 

8. Arrival of the herald or page of the Lord of Misrule. 

The herald announces the authority of the Lord of 
Misrule in the following form: 

To (name of some important person connected 

with the school), Feodary of the Wards in (local 

name), at (name of school) Manor. 



PAGE THIRTY-FOUR 



Imprimis: I give leave to Lord (name of the 

person who is to assume this character) to be Lord of 

Misrule, at the Manor of (name of school), during 

the twelve days of Yule-tide. And, also, I give free leave 

to the said Lord (name of Lord of Misrule) to 

command every person whatsoever, as well servants a? 
others, to be at his command whensoever he shall sounc 
his music, and to do him good service, as though I were 
present myself, at their perils. I give full power to his 
lordship to break all locks, doors and latches to come to 
all those who presume to disobey his lordship's commands. 

GOD SAVE THE QUEEN. 

, Lord Protector. 

(Signed by some one connected with the institution 
giving the entertainment.) 

This form of announcement is adapted from an article 
in the St. Nicholas, January, 1885, by E. S. Brooks. 

9. Procession of the Lord of Misrule and his train. 

The page comes first, then the Lord of Misrule with 
his staff surmounted by a fool's head, then his followers. 
They march round and round the stage, acting out as well 
as possible the characters they are supposed to represent, 
making various noises, and all who can, sing the following 
doggerel: 

"Like prince and king he leads the ring; 
Right merrily we go. Sing hey-trix, trim-go-trix, 
Under the mistletoe!" 

"To shorten winter's sadness see where the folk with 

gladness, 
Disguised, are all a-coming, right wantonly a-mumming, 
Fa- la!" 



70 
O 

o 

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i—i 
O 

z 

o 

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r 
o 

D 
O 




PAGE THIRTY-SIX 



This song may be set to some simple music, changed 
a little if desired, and repeated again and again as the 
procession marches around the stage. 

After the procession has marched around the stage 
once or twice, the Lord of Misrule waves his staff; every- 
one is quiet, and he gives the following announcement: 

"From Christmas Eve to Twelfth Night I am Lord 
Supreme; by my magic art I transform you all into chil- 
dren, and charge you, on your fealty, to act only as such. 
I absolve you all from wisdom. I bid you be just wise 
enough to make fools of yourselves, and do decree that 
none shall sit apart in pride and eke in self-sufficiency 
to laugh at others." — (Adapted from the article by E. S. 
Brooks.) 

Following this announcement, the procession marches 
round andi round the stage, singing, making various 
noises in keeping with the part assumed, and all entering, 
as much as possible, into the spirit of the occasion. 



The scenes above described, or the parts of the Christmas 
festival to be presented, were selected as typical of the most 
important elements in the celebration of Yuletide in the Eng- 
land of the sixteenth century. The simplicity, the joyousness 
of many of these old customs, is well worth preserving, aside 
from their historical interest and value. Remember, as stated 
above, these old English customs are a part of our own 
family history and for that reason of particular interest to us. 



REFERENCES 



The Sketch Book, by Washington Irving. (Description of 
Christmas Customs in England.) 

The Popular History of England, (Illustrated edition), by 
Charles Knight. Vol. III. 



PAGE THIRTY-SEVEN 



Christmas Carols and Customs, by H. E. Krehbiel. Pub- 
lished in the Outlook, Nov. 27, 1909. 

English Christmas and Scottish New Year, by M. E. Leices- 
ter Addis. 

Davy and the Goblin, by Charles Carryl. (St. Nicholas, be- 
ginning December, 1884.) (Suggestions may be obtained from 
the illustrations.) 

The King's Feast in Rufus's Hall, by Rev. Henry Augustus 
Adams. (Published in the St. Nicholas, December, 1SS4.) 

St. Nicholas, December, 1883. (Illustrations). 

Historic Girls — Elizabeth of Tudor, by E. S. Brooks. (Pub- 
lished in the St. Nicholas, January, 1885.) (Description of 
English customs in regard to the Lord of Misrule.) 

Christmas in the Olden Time, by Sir Walter Scott. 



' 




HISTORICAL PAGEANT 

To Illustrate the Contest between Slavery and Freedom 
in the United States, between 1830 and 1865 



This pageant or entertainment is divided into three parts. 
The first part is intended to show something of the conditions 
of slave labor in the South; of free labor in the North, and 
suggests a natural antagonism; the anti-slavery leaders are used 
to indicate the beginnings of the actual contest. 

The second part is occupied in showing some of the more 
important attempts made by American statesmen and the 
courts to settle the slavery Question. The third part shows the 
outcome of the contest by the election of President Lincoln, 
the emancipation of the slaves, the coming of peace, and the 
restoration of the Union after the Civil War. 

SCENES AND SCENERY 

In a reproduction of this nature there must be, of 
course, much change of scene. But with proper care the 
stage may be easily and cheaply arranged so as to suggest 



PAGE FORTY 



these changes. Care should be taken, however, to plan 
only such changes as can be made quickly, or the time 
between the scenes will be too long. Screens and curtains 
can be used to good advantage, as in this way a part or 
the whole of the stage can be used as the particular scene 
requires. A raised platform with steps, made from planks 
or heavy boards, will be found desirable. This may be 
covered with green cambric. Dark cambric is needed so 
that the platform can be used for outdoor scenes. When 
it would not be appropriate to have the platform xhow, 
it can be cut off by the screens. 

For the house scenes, the screens can be used so that 
a part of the stage suggests a room; rugs and simple 
furniture can be readily moved on and off the stage as 
required. Other articles needed for the different scenes 
should be kept as handy as may be. What these are will 
appear in the general description. 

CHARACTERS 

Nearly a hundred different persons took part in this 
pageant and some in two or more scenes. 

The following are the chief characters: 

Eight Negro slaves. (Used in the first two scenes and 
two of them, also, in later scenes.) 

A plantation overseer. 

Nine free laborers. 

Horace Greeley and eight other anti-slavery leaders. 

Apollo and the muses of poetry. 

Eva, Topsy and Miss Ophelia. 

Nine bishops. 

Eight noblemen of the Middle Ages. 

Five yeomen of the Middle Ages. 

Speaker, secretary and sixteen members of the House 
of Representatives. 

Tom Gordon and his slave Jim. 

Senator and his wife. Eliza. From Uncle Tom's 
Cabin. 



PAGE FORTY-ONE 



Two slave hunters. 

Three rescuers of a fugitive slave. 

Five Kansas emigrants. 

Nine justices of the Supreme Court. 

Abraham Lincoln. (If the inauguration scene is given.) 

Goddess of Liberty. 

A blue and a gray soldier boy. 

Angel of Peace. 

Besides these, three or four readers, or persons to 
give quotations or explanations of different scenes are 
needed. 



PART I 

Antagonism Between Slavery and Freedom 

Scenes in the South. (Slavery.) 

The first scenes suggest slave conditions in the South 
before the war. Appropriate music is rendered: "The Old 
Folks at Home" and "My Old Kentucky Home," or other 
Negro songs may be used. 

The tableaux are: "In a Negro Cabin on the Old Plan- 
tation" and "The Return from the Cotton Field." (Repre- 
senting slave labor.) 

A part of the stage is enclosed by means of screens 
for the negro cabin. The negro family consists of the 
man, his wife and two little children. Low stools are used 
for seats, and the negro is playing on a banjo. 

Six negroes, three boys and three girls, and the over- 
seer, take part in the "Return from the Cotton Field." The 
overseer is standing on the platform, which is placed side- 
ways upon the right or left of the stage; he holds a whip; 
scales for weighing the cotton should be upon the plat- 
form. The negro laborers are bringing in great baskets 
of cotton to the overseer. "Waste baskets with the tops 
covered with cotton are used. The overseer is dressed as 



PAGE FORTY-THREE 



was usual in the South and has on a broad brimmed straw 
hat. The negro men or boys are dressed in overalls, and 
the women or girls in unbleached cheese cloth with red 
bandanna handkerchiefs on their heads and round their 
necks. 




II. Scene in the North. (Free labor, etc.) 

To suggest the beginnings of the contest between the 
two systems use a procession of free laborers and a pro- 
cession of the leaders of the anti-slavery movement. The 
free laborers are dressed in working clothes and carry 
different kinds of tools; the leader has a banner inscribed 



PAGE FORTY-FOUR 




"Free Labor." The leader of the anti-slavery men is 
Horace Greeley. He wears the familiar long gray coat, or 
duster, a high, old-fashioned gray hat, and carries a ban- 
ner having upon it the words "Liberty for All." The other 
members of this procession wear white blouses and white 
caps; they have bands over their shoulders with the names 
of prominent anti-slavery leaders inscribed upon them. 
These two processions enter the hall at the rear and march 
to the stage. When arranged, one at the right and the 



PAGE FORTY-FIVE 



other on the left, the anti-slavery leader steps to the front 
and gives this quotation: 

"Sound for the onset, blast on blast! 
One charge of Are shall drive them fast, 
Till slavery's minions cower and quail; 
Like chaff before our Northern gale!" 

Then the leader of the laborers takes his place and 
gives the following: 

"Freedom, hand in hand with labor, 
Walketh strong and brave, 
On the forehead of his neighbor 
No man writeth •Slave'!" 

After these quotations the processions march from 
the hall as they entered. 

III. The influence of poetry, song and story in the overthrow 
of slavery. 

A tableau, "Apollo and the Muses of Poetry," is used 
to represent the influence of both poetry and song againsr. 
slavery. Apollo wears a Greek costume of white, trimmed 
with green, and carries a green lyre. The muses wear 
Greek costumes, white with gold borders. Apollo stands 
in the centre of the group, just a little in front of 
the muses. 

The influence of story is shown by one or more scenes 
or tableaux from Uncle Tom's Cabin. 

A tableau showing Eva, Topsy and Miss Ophelia in 
the scene where Eva comes into Miss Ophelia's room, 
wearing the necklace which Topsy has just 'fessed that 
she has stolen, may be used. Eva is showing her aunt 
the necklace and Miss Ophelia is looking sternly at Topsy. 
Eva is dressed in white; Miss Ophelia wears an old-fash- 
ioned, full skirt and kerchief, and has her hair arranged 



PAGE FORTY-SIX 



according to the fashion of that period. Topsy's dress 
should be as grotesque as it can be made. 

Another scene from Uncle Tom's Cabin that may be 
given is that of George Shelby at the grave of Uncle Tom. 
Pillows may be placed on the stage and covered with an 
overcoat to represent the grave. George Shelby is kneel- 
ing by the grave with his arm raised toward heaven. He 
gives this vow: "Witness, Eternal God, Oh, witness that, 
from this hour I will do what one man can to drive out 
this curse of slavery from my land!" 




THE MUSES 



Anti-slavery poems and their influence are represented 
by a presentation of Whittier's poem, entitled, "The Curse 
of the Charterbreakers." The first three verses of the 



PAGE FORTY-SEVEN 



poem are read by some one in Greek costume, represent- 
ing Poetry; then the reader steps back, the curtain is 
raised and shows a tableau representing a scene in West- 
minster Abbey in the 13th century. 

In the tableau in Westminster Abbey are nine bishops, 
eight noblemen and five yeomen of the Middle Ages. One 
of the bishops stands upon the platform in the centre; on 
either side are grouped first the other bishops, then the 
yeomen and noblemen; the bishop upon the platform gives 
the curse against the charterbreakers, as in the poem, be- 
ginning: "Right of voice in framing laws," and ending 
"Make our word and witness sure, Let the curse we 
speak endure!" 

After the giving of the curse by the bishop, the others 
taking part in the tableau say "Amen." 

After this the curtain is lowered, the reader steps 
forward and completes the poem. 

The reader has the poem upon heavy brown paper, in 
a form to represent a Greek parchment roll. 

The bishops wear long black gowns and mitres of 
black or silver paper; the principal bishop has a stole 
and a mitre covered with gilt paper. The yeomen 
are dressed in plain gray gowns; the noblemen 
wear long decorated gowns of bright colors; the colors 
were yellow, decorated with light purple, red decorated 
with black, blue and green both decorated with silver 
paper. The designs for decoration may be stenciled, or 
cut out of paper and sewed or pasted upon the garments. 
Any design used in the Middle Ages may be taken; for 
some of the garments, lions cut from silver paper were 
used. 

Beside the platform or raised place in the centre 

background of the stage, there should be high cabinets 

with lighted candles upon them. The English coat-of-arms 

may be placed on the wall back of the raised platform. 

Music: Between the parts of the entertainment, an orchestra 



PAGE FORTY-EIGHT* 



plays or some other music is provided. Beside this, other 
patriotic or appropriate songs are given. 







THE BISHOP AND NOBLEMEN 



PART II 



Attempts of American Statesmen and the Courts to 
Settle the Slavery Question 



Anti-slavery petitions in Congress; Passage of the 
Resolution" by the House of Representatives. 



"Gas 



The scene presented here is a session of the United 
States House of Representatives. A platform in the centre 
of the stage; a chair and table upon the platform for the 
Speaker of the House, and the Speaker's gavel must be 
provided. The chairs for the members of the House are 



Page forty-nine 



arranged in a semi-circle on both sides of the platform. 
The members of the House are seated or standing around 
in disorder when the curtain rises. The Speaker of the 
House comes in, mounts the platform, and raps upon the 
desk with his gavel. 

Speaker: "The House will come to order." 

John Quincy Adams: "Mr. Speaker." 

Speaker: "Mr. Adams of Massachusetts." 

Mr. Adams: "I have a petition against slavery. What 
shall be done with it?" 

Three members of the House (rising and shaking their 
fists at Mr. Adams) cry, "Treason! Treason! Put him out! 
Put him out!" 

Speaker: "Order! Order! The House will come to 
order!" (Raps with his gavel until the members take their 
seats.) "The gentleman from Massachusetts is out of 
order. The secretary will read the resolution that is 
before the House." 

Secretary: "Resolved, that no petition, memorial, reso- 
lution, or other paper, praying the abolUion of slavery in 
the District of Columbia, or in any State or Territory, or the 
slave trade between the States or Territories of the 
United States in which it now exists, shall be received by 
this House, or entertained in any way whatever." 

Speaker: "The question is: Shall the resolution pass?" 

Some member: "On that motion I ask for the yeas 
and nays." 

Speaker: "The yeas and nays are ordered. The sec- 
retary will call the roll." 

Secretary calls the names of the members, who, each 
in turn, rise and answer either yea or nay. (The yeas 
must have a majority.) 

Mr. Adams (when his name is called): "I hold the 
resolution to be a direct violation of the Constitution of 
the United States, the rules of this House, and the rights 
of my constituents, and therefore I vote nay." 



PAGE FIFTY 



Secretary (after reckoning up the votes): "Yeas:" 
(Gives number according to number that take part.) 
"Nays:" (gives number.) 

Speaker: "The resolution has passed." 



II. The Fugitive Slave Law of 1850 is a further illustration. 

A brief explanation of the law should first be given, 
showing the main features of the law and the reason why 
the extreme South urged its passage. 

Three points are taken for illustration: First, that it 
was the bright slaves who planned to escape, and mostly 
from the border states; second, the ready aid which they 
received from the people in the North; third, the impos- 
sibility of enforcing the law against the moral convictions 
of the North. 

For the first, take a scene from Mrs. Stovve's Dred or 
Nina Gordon. Tom Gordon has a personal servant, a very 
bright and witty negro. He has frequently been off into 
the woods in the early evening to meet others of his race 
who are planning an escape. His master becomes sus- 
picious and forbids him to be away again. But Jim gets 
his master in good humor and begs off for an hour to 
attend a last meeting of the would-be fugitives. 

A green hedge of laurel, or some evergreen trees or 
other green may be placed around the edge or at the sides 
of the stage to represent the woods. The hedge may easily 
be made by fastening chicken wire to some support, and 
sticking into it branches of laurel. 

Tom Gordon enters from one side of the stage and 
his slave Jim from the other; they cross the stage toward 
each other. Suddenly Jim sees his master and starts 
back, then decides to face it out. The conversation be- 
tween Jim and his master, taken from Dred, begins with: 

Tom Gordon: "Why, Jim, where have you been? I've 
been looking for you." 

Jim, with ready wit, declares that he has been to 



PAGE FIFTY-ONE 



attend a religious meeting in the woods. Tom Gordon 
answers that he does not believe a word of it; that the 
negro has been up to some spree. The conversation ends: 
Tom Gordon: "You don't remember a word the 
preacher said, I'll bet. Where was the text?" 

Jim: "Text? 'Twas in the twenty-fourth chapter of 
Jerusalem, and the sixteenth verse." 

Tom Gordon: "Well, what was it? I should like to 
know." 

Jim: "Laws, mas'r, I believe I can 'peat it. 'Twas 
dis yer: Ye shall sarch fur me in de mornin' and ye 
won't find me. Dat ar's a mighty solemn text, mas'r, and 
ye ought to be 'Meeting on't." In the morning Jim is gone. 
Jim is, of course, made up to represent a negro; ho 
wears a long coat, torn and dirty (a grocer's gray or 
white coat will do). Tom Gordon wears the typical 
Southern dress. 

The second point is finely illustrated by scenes from 
Uncle Tom's Cabin. The first scene shows a cosy room in 
a private house. A state senator has just returned from 
Columbus, the capital of Ohio, where he has been aiding 
in passing a law to help enforce the Fugitive Slave Law 
of 1S50. His wife, who is weak on the legal side, but 
with lively sympathy for all who suffer, takes him to task 
and declares that she will never turn a fugitive slave from 
her door. The senator says: "Of course it would be a 
painful duty." Just as the woman is expressing her con- 
tempt for the use of the word "duty" in any such con- 
nection, the conversation is interrupted by the announce- 
ment that the senator's wife is wanted in the kitchen. 
The curtain falls. 

When the curtain rises for the second scene, it shows 
in tableau, Eliza, the fugitive slave, lying on the floor, 
the senator's wife down on her knees beside her, holding 
the slave's hand and looking pityingly at her; while the 
senator himself stands near, also looking at the slave. 



PAGE FIFTY-TWO 



In the final scene the senator and his wife are again 
seated near each other, and the following conversation 
takes place: 

Senator: "I say, wife!" 

Wife: "Well, dear?" 

Senator: "She couldn't wear one of your gowns, could 
she? She seems to be rather larger than you are." 

Wife (smiling): "We'll see." 




THE SENATOR'S WIFE 



Senator: "I say, wife, she'll have to get away from 
here this very night. It's an awkward, ugly business: but 
it will have to be done, though. Cudjoe must put in the 
horses about 12 o'clock, and I'll take her to a place back 
in the woods where she'll be safe enough. Then Cudjoe 
must carry me on to the next tavern, to take the stage for 



PAGE FIFTY-THREE 



Columbus, that comes by about three or four, and so it will 
look as if I had had the carriage only for that. I shall 
get into business bright and early in the morning. But I'm 
thinking I shall feel rather cheap there, after all that's 
been said and done; but hang it, I can't help it!" 

Wife (going up to the senator and putting her hand 
on his shoulder): "Your heart is better than your head, 
in this case, John." 

The senator's wife is represented by a girl dressed 
in a long, old-fashioned dress, with a kerchief about her 
neck, and- her hair arranged low with a comb according 
to the style about 1S50. Eliza is dressed to represent a 
poor slave woman. 

After this are two tableaux, illustrating the working 
of the Fugitive Slave Law: "The. Capture of a Fugitive 
Slave" and "The Rescue of the Slave." In the first tableau 
the runaway slave is down on his knees, in the attitude 
of try'ng to escape, and two slave hunters have hold of 
him. One of the slave hunters has a whip and the other 
a heavy chain. 

In the second tableau the captors of the slave have 
just been driven back by three rescuers. The slave is 
crouched near his rescuers; one of the men has a hand on 
the slave's shoulder, reassuring him, and the other two 
have their arms raised, threatening and driving back the 
pursuers. During the second tableau someone from the 
wings gives the following quotation: 

"The voice of Massachusetts! Of her free sons and daughters. 
Deep calling unto deep aloud — the sound of many waters! 
Against the burden of that voice what tyrant power shall 

stand ? 
No fetters in the Eay State! No slave upon her land!" 

Music: Any patriotic or appropriate selection. 



PAGE FIFTY-FIVE 



III. The Kansas-Nebraska Act. 

This famous attempt to settle the slavery question by 
leaving the whole matter to the people of the different 
territories, proved to be one of the strongest influences in 
bringing about its destruction. One of the first and the 
most lasting results of this legislation was the organization 
of a society to foster the emigration of free laborers from 
the North and from Europe to Kansas, for permanent 
settlement. This point is taken for illustration here, al- 
though there are many other phases of the subject which 
would readily lend themselves to such treatment. 

Tableau: "The Kansas Emigrants." 

Three boys, a young woman and a little girl, 
are used to represent a company of these emigrants. 
A prairie schooner must have a place on the stage. 
A boy's wagon, covered with canvas, will serve, but 
it would be better if it were larger. Two of the 
boys, carrying guns, should stand by the schooner; 
on the other side of the stage another boy is seen bringing 
water. A fire must be shown on the stage : — a gas log is 
the most convenient way of representing this — and the 
woman and little girl should be standing near, arranging 
for the evening meal. There are a variety of ways by 
which a crane can be represented, with the proper cooking 
utensils suspended over the fire. As this tableau is shown 
on the stage, someone in the wings gives a quotation from 
Whittier's poem, "The Kansas Emigrants," beginning with 

"We cross the prairie, as of old 
The Pilgrims crossed the sea." 

Music. 
IV. Dred Scott Decision. 

This decision is the most important action of the 
courts in regard to slavery before the Civil War. 



PAGE FIFTY-SIX 



For this scene a red curtain is drawn across the back 
of the stage, and high upon this curtain is placed a large 
eagle cut out of gilt paper and pasted upon a background 
of white cloth; across the front of the stage is drawn a 
black curtain which comes to about the height of an or- 
dinary chair. Between these curtains are arranged nine 
chairs in a semi-circle. At the beginning of this scene 
only the court crier is upon the stage; he stands at one 
side of the chairs, and says: 

"The Honorable, the Chief Justice and the Associate 
Justices of the Supreme Court of the United States." 

The chief justice, followed by the eight associate jus- 
tices, now enter and take their seats, the chief justice in 
the center. 

The crier then says: 

"Oyez, Oyez, Oyez! All persons having bus ; ness before 
the Honorable Supreme Court are admonished to draw 
near and give their attention, for the Court is now sitting. 
God save the United States and this Honorable Court!" 

The decision of the Supreme Court in the Dred Scott 
case is then read by the party representing Chief Justice 
Taney. The following condensed form may be used: 

Decision in the Dred Scott Case — Majority opinion. 
Decision rendered by me. Chief Justice Taney, March, 1857. 

No negro, whether free or slave, is a citizen of the 
United States, and there is no constitutional process by 
which he can become so. 

Therefore, under the laws of the United States, a 
negro can neither sue nor be sued, and, as a consequence, 
the court has no jurisdiction in the Dred Scott case. 

A slave is simply a piece of property or personal chat- 
tel, to be taken from state to state like a horse or cow, 
without the rights of the owner being affected. The Mis- 
souri Compromise and the Compromise of 1850 are there- 
fore unconstitutional, and null and void. 






PAGE FIFTY-SEVEN 



Associate Justices Wayne, Nelson, Grier, Daniel, Camp- 
bell and Catron concur in this decision. 

Judges McLean and Curtis dissent. 

The judges wear long, black robes, and have their hair 
powdered. 

PART II 

Final Settlement of the Slavery Conflict 

I. Election of Lincoln as President of the United States. 

A brief description of Lincoln's election and inaugura- 
tion (adapted from various sources) is given first. See 
Youth's Companion, Feb. 16, 1911. 

Next the inaugural scene, with a quotation from Lin- 
coln's first inauguration address, may be given. 

Upon the platform is placed a small table; behind the 
table stand some of the judges of the Supreme Court, and 
Lincoln comes upon the stage and gives a selection from 
the inaugural address. Lincoln should be dressed in an 
old-fashioned coat, and wear an old-fashioned black hat, 
which Senator Douglas holds during the exercises. 

II. Poem: "Astraea at the Capitol," by Whittier. 

Selections from this poem are read. It was written 
concerning the abolition of slavery in the District of Co- 
lumbia in 1862. 

III. Emancipation. 

This is shown by a tableau in which the Goddess of 
Liberty is freeing a slave. The slave woman is kneeling 
in front of the goddess and a heavy iron chain, signifying 
slavery, is just falling from her wrists. 

Music: Kipling's Recessional. 

IV. Union: Angel of Peace. 

The VI, VII and VIII (last three) stanzas of a poem 
entitled "Peace," by Edward Peple, are read. This part 



PAGE FIFTY-EIGHT 



of the poem commences: "Oh, slumbering heroes, cease 
to dream of war!" 

The last tableau represents the Angel of Peace crown- 
ing the North and the South. The North and the South 
are represented by two soldier boys, one dressed in army 




EMANCIPATION 

blue and the other in gray. The boys are kneeling in 
the foreground, the boy in gray has his hand on the 
other's shoulder, and their attitude is one of repose. Above 
and back of the boys is the Angel of Peace, holding above 
their heads a green wreath, 



PEACE PAGEANT 

Showing the World's Progress Toward Universal Peace 



This entertainment was prepared to illustrate the progress 
which the world is making toward international peace. It 
uses as a back ground a suggestion of the nature of war; then 
commencing with the time of the Hebrew Prophets, whose 
visions included a coming age of "universal peace," it attempts 
to trace the development of this idea through the centuries to 
the present time. Finally the twentieth century is chosen as 
the time for the fulfilment of this "glorious prophecy of old." 

CHARACTERS 

Boys, representing war. 

Three Hebrew prophets. 

Child, representing the Birth of Christ. 

A Christian missionary. 

Savages. 

St. Elizabeth of Hungary. 

Several monks. 

Churchman of the Middle Ages. 

Knight of the Middle Ages. 

Boys, representing the period of the Renaissance and 
Reformation. 

William Penn; other Quakers and Indians. 

Children, representing Chile and the Argentine Re- 
public. 

Laborers. 

Children, representing Peace Heroes. 

Girls, representing women favoring peace. 

Red Cross nurses. 

Russian officer. 



PAGE SIXTY 



Girl, representing the United States. 

Dutch girls. 

Representatives from different countries at the Hague. 

Girls representing the triumph of peace. 

Readers and story tellers. 

COSTUMES 

The child, representing Christ, may be appropriately 
dressed in white with a green wreath on her head. 

The missionary should have a costume like those 
shown in pictures of the early missionaries. Wrap the 
savages in fur or very coarse garments. 

St. Elizabeth should have a white robe, arranged in 
the style of the early centuries. 

There are many pictures of the long black robes of 
the early monks. The same is true of the dress appro- 
priate for the churchman, knight, Quakers, Indians, labor- 
ers, Red Cross nurses, Russian officer and Dutch girls. 
Of course the Stars and Stripes should be draped about 
the girl who represents the United States. White blouses 
are appropriate for the Peace Heroes, and white dresses 
for the girls who appear in the processions. 

I. The dark side of war. 

This is pictured or suggested by a procession of boys, 
dressed in dark suits, wearing black bands across their 
shoulders upon which the word war appears in red. One 
of the boys carries a black banner, inscribed in the same 
manner. The procession moves to slow music. When 
the procession stops for a moment on the stage the follow- 
ing quotation is given: 



PAGE SIXTY-ONE 



"Hark! the cry of Death is ringing 

Wildly from the reeking plain; 
Guilty glory, too, is flinging 

Proudly forth her vaunting strain; 
Thousands on the field are lying, 

Slaughtered in the ruthless strife; 
Wildly mingled, dead and dying 

Show the waste of human life." 

Music: "How Beautiful upon the Mountains," etc. 



«8 



? t mm 

i* f \ WA*k I # \ /l 






WAR PROCESSION 

IT. Prophecy of Peace. 

Reading of Isaiah's Prophecy of Peace: 
"The people that walked in darkness 
Have seen a great light; 

They that dwelt in the land of the shadow of death, 
Upon them hath the light shined. 



PAGE SIXTY-TWO 



"For all the armour of the armed man in the tumult, 
And the garments rolled in blood, 
Shall even be for burning, 
For fuel of fire. 

"For unto us a child is born, 
Unto us a son is given; 

And the government shall be upon his shoulder; 
And his name shall be called 

Prince of Peace. 




CHILD WITH CROSS 



"Of the increase of his government, 
And of peace there shall be no end. 

"And they shall beat their swords into plowshares, and 
their spears into pruninghooks; nation shall not lift up sword 
against nation; neither shall they learn war any more." 



PAGE SIXTY -THREE 



Just before this last quotation is given, the curtain 
rises for the tableau of the Prophets— Zechariah, Haggai 
and Malachi. These three prophets are draped and posed 
according to the idea in Sargent's "Prophets," so as to 
indicate as plainly as possible that they are looking and 
hoping for some beautiful and wonderful event in the 
future. 

Music, "It Came Upon the Midnight, Clear." 

III. Message of Universal Peace. 

This is represented by a tableau: The Birth of Christ. 
A little child, dressed in white, holds a large cross. The 
cross is covered with green foliage. 

During this tableau the following quotation from Mil- 
ton is given: 

"No war or battle's sound 
Was heard the world around. 

But peaceful was the night, 
Wherein the Prince of Light 

His reign of peace upon the earth began." 

IV. Progress of peace in the centuries since the Birth of Christ. 
1. The early centuries after Christ. 

From the early centuries after the birth of Christ 
three subjects for illustration were chosen. First the 
preaching of the Christian missionaries; second, the char- 
ity and good works of the early Christians; third, the in- 
fluence of the monasteries. 

The preaching of Christian missionaries is represented 
hy a tableau, in which a boy holding a tall cross is 
preaching to a group of savages. While this tableau is 
shown upon the stage some one from the wings says: 

"The Fatherhood of God; the Brotherhood of Man," 
thus indicating the chief doctrines which tne missionary 
is supposed to be preaching. These are the doctrines, 



PAGE SIXTY-FOUR 



also, which tend most directly toward universal peace. 
The beautiful legend told of St. Elizabeth of Hungary is 
typical of the charity of the early Christians. St. Eliza- 
beth was one day going to relieve the poor, when she 
suddenly saw the folds of her cloak covered with roses 
in full bloom. The charity of the early Christians and 




A COMPANY OF MONKS IN COSTUME 



the legend of St. Elizabeth are described briefly and then 
the tableau of St. Elizabeth, holding in the folds of her 
dress beautiful roses, is shown. (See picture in Military 
and Religious Life in the Middle Ages, by Paul Lacroix.) 
A brief reading is given to show the value and in- 
fluence in favor of peace of the monasteries (adapted 
from Kingsley's The Roman and the Teuton.) This part 



PAGE SIXTY-FIVE 



ends with a tableau showing a company of monks in 
costume. 

2. The Middle Ages. 

For illustration take the two most important, refining 
and civilizing agencies of this period, the church and 
chivalry. The influence of the church in favor of peace 
is illustrated by the "Truce of God." This was proclaimed 
by the church and forbade any fighting upon certain 
specified days. 

The following condensed form of this truce is supposed 
to be given by a churchman of the Middle Ages: 

"Proclamation of the 'Truce of God!' 
"All fighting is forbidden from Thursday evening tn 

Monday morning in every week; on all feast days; in 

Advent, and in Lent. 

"By Authority of the Holy Roman Catholic Church, 

A. D. 1041." 

The second point is illustrated by the vow of the 
knight. A knight comes upon the stage and takes the 
oath or vow of knighthood. The following form may be 
used : 

"I promise to fear, revere, and serve God religiously; 
to die a thousand deaths rather than renounce Christian- 
ity; to serve my sovereign prince faithfully; to maintain 
the just right of the weak, such as of widows, orphans 
and maidens. I swear that avarice, gain, or profit shall 
never oblige me to do any action, but only glory and 
virtue; I will hold myself bound to conduct a lady or 
maiden; I will serve her, protect her, and save her from 
all danger, or die in the attempt. I will faithfully observe 
my word and pledged faith." 

(Adapted from the Oath of a Knight in Sheldon's 
General History.) 



PAGE SIXTY-SIX 



3. Period of the Renaissance and the Reformation. 

A brief explanation of the period is first given. This 
explanation commences with the following quotation: 

"Thundering and bursting, in torrents, in waves; 

Carolling and shouting o'er tombs, amid graves; 

See on the cumbered plain, clearing a stage, 

Scattering the past about, comes a new age! 

"All things begin again; life is their prize; 

Earth with their deeds they fill, fill with their cries." 

Among the points mentioned as proving the coming of 
this new age are these: The increase in wealth and power 
of the merchant class, and their desire for peace; the in- 
ventions of this period, especially those of gunpowder, 
which made war less brutalizing; of printing, which opened 
learning to the lower classes; the Reformation, which 
opened again to the people the Bible with its teaching of 
peace and universal brotherhood. 

After the explanation a tableau is given, showing: 

Increase of commerce. (A boy with a ship, made to 
represent those of this period.) 

Use of gunpowder — Boy with an old powder horn. 

Interest in learning. (Greek and Latin manuscripts.) 
Boy with rolls of parchment. 

Invention of printing — Boy with a case of type. 

Effect of Reformation — Boy with an open Bible. 

4. Modern Period. 

As an introduction to the period, use a part of Ten- 
nyson's poem, "Ring out the old, ring in the new." 

Three illustrations for the modern period were given. 
Others might be chosen. The first was the influence of 
the Quakers; the second the treaty between Chile and the 
Argentine Republic; the third the influence of modern 
means of communication in promoting peace. 



PAGE SIXTY-SEVEN 



Reading — "The Quaker Movement in America" (con- 
densed from Stepping Stones of American History.) 

After the reading a tableau is shown: Penn's treaty 
with the Indians. William Penn and the Indian chief 
stand in the center; other Indians and Quakers are group- 
ed about the stage; the Indian chief holds out a wampum 
belt to William Penn, and says: "We will live in love with 
William Penn and his children as long as the sun and 
moon shall endure." 

Chile and the Argentine Republic settled a dispute 
over their boundary by treaty rather than by war; and in 
commemoration of this they placed, on the summit Of the 
Andes, a colossal statue of Christ. To represent this an 
explanation and tableau are given. In the tableau are two 
children bearing the flags of the two countries, and be- 
tween these a large cross. 

The influence of modern means of communication in 
promoting peace between nations is briefly explained. Then 
the modern means of communication are illustrated by 
posters. These posters showed steam and electric cars, 
steamboats, the postal system, automobiles, etc. Some of 
the posters were 'made by pupils in the Normal School. 

V. Heroes of Peace. 

A few stories of heroic deeds in times of peace are 
told. After this there is a tableau in which a boy carries 
a motto, illustrating this point, and other boys grouped on 
either side carry shields with the names of heroes of peace 
upon them. These shields were made by pupils in the 
Normal School under the supervision of the drawing de- 
partment. 

The heroic deeds selected for description were those 
of Dr. Lagear, who gave his life to prove that the mos- 
quito transmits the yellow fever germ, of Rufus Combs, 
who saved the life of his bitter enemy, and of Richard 
Hughes, who, at the risk of his own life, saved the life 



PAGE SIXTY-EIGHT* 



of a fellow workman, injured by an explosion of dynamite, 
and exposed to the risk of a second explosion. 

VI. Classes which should especially favor peace. 

Men who labor with their hands for a living, men in 
business, and women were selected as representing these 
classes, following a suggestion of Justice Brewer in his 




PEACE HEROES 



address on peace. Three pupils from the eighth grade of 
the Practice School wrote and read brief papers showing 
why these classes are especially interested in the estab- 
lishment of universal peace. This point was illustrated by 
a procession of laborers, by large posters showing some of 
the business sections of the city of Fitchburg, and by a 



PAGE SIXTY -NINE 



company of girls carrying a banner inscribed with the 
words "Women favor peace." 

Music: "Hymn of Peace." 

VII. Work of the Red Cross Society. 

The story of the life of Clara Barton is briefly told. 
This story may be found in "An American Book of Golden 
Deeds," by James Baldwin. A large number of girls from 
the eighth grade of the Practice School, in the costume of 
Red Cross nurses, are upon the stage while this story is 
being told. These girls made their own Red Cross badges. 

VIII. Proposal for the First Meeting of the Peace Conference 
at The Hague. 

A condensation of this proposal is read by a boy in 
the costume of a Russian officer. 

IX. Proposal for the Second Meeting of the Peace Conference 
at The Hague. 

This is given in a condensed form by a young lady 
representing the United States. 

Music: "To Thee, O Country." 

X. Meeting of the Second Peace Conference at The Hague. 

Girls in Dutch costume in the background of the scene 
suggest that we are in Holland. Boys are seated in a 
semi-circle upon the stage. They are representatives from 
the most important countries in the world. 

Bands across their shoulders give the names of these 
countries. 

A brief summary of the final results of the Peace 
Conference is read by one of the boys. 

The material for these proposals for the conferences 
and for this summary may be found in "Texts of the Peace 



page seventy 



Conferences at The Hague, 1899 and 1907," edited by- 
James Brown Scott. 

XI. Triumph of Peace between the Nations of the World — 
20th century. 

A quotation from Tennyson is first given: 




PEACE PROCESSION 



"For I dipped into the future, far as human eye could see, 
Saw the vision of the world, and all the wonder that would 
be," etc. 

A procession of girls representing International Peace 
in the 20th century then marches upon the stage, bearing 
a Peace Banner. The banner is white with a gray dove 



PAGE SEVENTY-ONE 



and the words "Peace, 20th Century" upon it. The ban- 
ner bearer steps forward and gives the following quotation: 

"God shall spread abroad His banner, 
Sign of universal peace; 
And the earth shall shout Hosanna, 
And the reign of blood shall cease." 

Music: Kipling's "Recessional." 



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